174
174

PROPERTY FROM AN ITALIAN PRIVATE COLLECTION

Gioacchino Assereto
ECCE HOMO
Estimate
100,000150,000
JUMP TO LOT
174

PROPERTY FROM AN ITALIAN PRIVATE COLLECTION

Gioacchino Assereto
ECCE HOMO
Estimate
100,000150,000
JUMP TO LOT

Details & Cataloguing

Old Master & British Paintings Day Sale

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London

Gioacchino Assereto
GENOA 1600 - 1649
ECCE HOMO
signed on left pillar: G. Ax
oil on canvas
124.5 by 97 cm.; 49 by 38 1/8  in.
Read Condition Report Read Condition Report

Provenance

Francesco Queirazza, Monte Carlo, until 1987;
By whom (anonymously) sold, Monte Carlo, Christie's, 3 April 1987, lot 49;
With Heim Gallery, London, from 1987 until 1990;
From whom acquired by E. Constantini, Rome;
Anonymous Sale, Genoa, Art, 1819 September 2007, lot 475.

Literature

L. Trezzani, 'A. come Assereto. Alcuni inediti del pittore Genovese', in Scritti in onore di Giuliano Briganti, Milan 1990, pp. 18687, reproduced fig. 8;
M. Newcome, Kunst in der Republik Genua, Frankfurt 1992, p. 86, note 1;
E. Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs..., 1999, vol. I, p. 509;
S. Jacob & S. König-Lein, Die Italienische Gemälde des 16. Bis 18. Jahrhunderts, Munich 2004, p. 16;
P. Boccardo and A. Orlando, 'L'eco caravaggesca a Genova. La presenza di Caravaggio e dei suoi seguaci e i riflessi sulla pittura Genovese', in Caravaggio e l'Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Milan 2005, pp. 111 and 115, note 86, reproduced fig. 8;
A. Orlando, in A. Constantini (ed.), 'L'Ecce Homo di Assereto. Genesi di un capolavoro', in In ricordo di Enzo Costantini, Turin 2006, pp. 7181;
A. Orlando, Dipinti genovesi dal Cinquecento al Settecento. Ritrovamenti dal collezionismo privato, Turin 2010, p. 17;
T. Zennaro, Gioacchino Assereto e i pittori della sua cerchia, Soncino 2011, vol. I, pp. 42627, reproduced cat. no. A128 and plates LXXXIX, XC, XCI.

Catalogue Note

The theme of Ecce Homo was clearly of significance to Giaocchino Assereto, who revisited it numerous times over the course of his career. This is Assereto's last known version of the subject and can therefore be seen as the culmination of his treatment of it. The dynamic composition and free brushwork, along with the reduced palette, led Zennaro to date the painting to the 1640s. Despite its likely date, the work has clear compositional links to an important picture from Assereto's youth, the Ecce Homo of the mid-1620s in the Pinacoteca dei Cappuccini, Voltaggio.In both works five figures are compressed into a vertical picture plane, with Pilate leaning in from the left and presenting a reeling Christ to the viewer.

This Ecce Homo looks to a variety of sources and incorporates them seamlessly. The broad and phlegmatic figure of Christ is possibly derived from Anthony van Dyck’s Genoese Ecce Homo of circa 1625, in the Barber Institute, Birmingham.2 The glow behind Christ's head betrays the formative influence of Bernardo Strozzi and the reduced palette and darker tones, typical of Assereto's full maturity, evince a knowledge of late mannerist Lombard painters, such as Cerano, Morazzone and especially Giulio Cesare Proccacini, who spent time in Genoa and left behind several altarpieces. Despite these varied references, Assereto makes the composition his own, balancing the crowded scene in such a way that the spectator's attention is focused on the extraordinarily expressive interaction of hands in the lower part of the picture. Assereto also introduces the startling and pensive figure bent at the lower right, painted with great immediacy, whose gaze seems to convey a troubled conscience.

1.  Zennaro 2011, p. 216, cat. no. A17, reproduced, plates IX and X.

2. S.J. Barnes, N. De Poorter, O. Millar and H. Vey, Van Dyck: A Complete Catalogue of the Paintings, New Haven and London 2004, p. 156, cat. no. II.10, reproduced.

Old Master & British Paintings Day Sale

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